architecture the cathedral at Parma is almost ruined, whilst it would be difficult to conceive a worse-fitted building for the display of Correggio’s fancy and skill. The ill-assorted union, in itself ruinous to both, has been aggravated by the bad state of repair which has damaged and no doubt altered the colour of the frescoes; and the impression now produced is that of simply the gloomiest interior in Italy. The church is cruciform, with a central cupola and apses to the three eastern arms of the cross. The nave and aisles of seven bays are vaulted, and there is a large and striking crypt under the whole eastern part of the church which goes far to redeem its otherwise barren character. The effect here is remarkable, owing to the complex perspective and great number of single slender marble shafts carrying the vaulted roofs, and in part also to its unusual height. The capitals are all carved--frequently with coarse volutes; the church was founded in 1058, and no doubt this crypt is of about that age. Very near to the cathedral on the south-west is the now much more interesting baptistery. This is on the exterior a large and lofty octangular building, adorned in a succession of stages by small detached shafts carrying the cornices and strings which divide the elevation. Internally the scheme is very different. The eight-sided interior is subdivided, so that sixteen shallow apses are set around the inside face of the walls. These are separated by columns, and above them on each side are two stages in height, each subdivided into three divisions, which are again subdivided by smaller columns. A great vault or cupola covers the whole, and from its height gives an air of solemnity to the interior. It seems never to have been treated as a real dome, being covered with a flat roof, resting on the external walls, which are carried up far above the vault. The paintings with which the walls are covered are arranged without any order or general scheme of design. They seem to have been given by various donors, and each gave what best pleased his fancy; but owing to the early date of most of the work, there is in parts--especially in the vault--a fine effect of colour. [Illustration: PLAN OF BAPTISTERY.] [Illustration: SECTION OF BAPTISTERY.] This baptistery is said to have been commenced by the architect Benedetto di Antelamo in A.D. 1196,[70] who is also credited with many other works here, and specially with much of the early sculpture in the Duomo and baptistery; it was not completed until 1260.